When Shakespeare Goes Cinema:

A Night with Macbeth at the Crossroads of Traditional and Modern

There’s something deliciously ironic about preparing to watch “The Scottish Play” through a screen. Armed with Marjorie Garber’s scholarly insights and Paul Cantor’s lectures queued on YouTube, I found myself straddling centuries – one foot in traditional academic preparation, the other in digital-age convenience. But nothing could have prepared me for the way that the filmed live Max Webster-directed production at London’s  Donmar Warehouse; starring David Tennant and Cush Jumbo; would dissolve that careful distance between viewer and viewed.

The Seduction of Simplicity

In an era where productions often compete to outdo each other with elaborate sets and costumes, this Macbeth takes a boldly minimalist approach. The stark staging serves not as a constraint but as a canvas, allowing the raw power of Shakespeare’s language and the actors’ craft to paint vivid pictures in our minds. It’s a reminder that sometimes, less is more – especially with performers of exceptional caliber commanding the space.

The Intimacy of Technology

Things get interesting with the production’s use of binaural sound technology and the theater’s 5.1 surround sound transformed what could have been a mere filming of a stage play into something more visceral. Every whispered plotting, every sharp intake of breath, every moment of hesitation becomes startlingly intimate. This is psychological cinema at its finest. Using modern technology to achieve what Shakespeare himself must have dreamed of – the ability to place the audience not just in front of the action, but inside of it. Macbeth’s eye contact with the viewer is both thrilling and chilling.

Gender, Power, and the Space Between Desire and Action

At the heart of the play is an exploration of gender dynamics that feels startlingly relevant to contemporary discussions. Lady Macbeth emerges not simply as an ambitious woman, but as a complex figure trapped in a society that offers her “no chance of independent action and heroic achievement.” Her transformation of nouns into verbs – turning the Weird Sisters’ prophecies into calls for action – speaks to a deeper truth about power and agency.

The production masterfully highlights how Lady Macbeth’s infamous “unsex me here” speech resonates with modern conversations about gender constraints. Her willingness to “dash out the brains” of her nursing infant becomes not just an act of horror, but a violent rejection of prescribed feminine roles. In Jumbo’s portrayal, we see a woman who has internalized the brutal logic of a masculine world, turning it back on itself with devastating effect.

The Question of Responsibility

Perhaps the most unsettling aspect of this production is how it implicates its audience. Through the immersive sound design and intimate camera work, we become less spectators and more accomplices. Each choice, each action, each consequence feels personal in a way that traditional staging rarely achieves. The production asks us, in our era of influence and manipulation, whether we are ever truly responsible for our actions – a question that echoes far beyond the theater walls.

A New Kind of Shakespeare Experience

What makes this production remarkable is not just its technical achievements or stellar performances, but how it manages to honor both theatrical tradition and contemporary sensibilities. It’ is Shakespeare for our time: psychologically acute, technologically sophisticated, yet deeply rooted in the timeless power of language and performance.

For those planning to view the film: Yes, do your homework. Garber will guide you through the text and Cantor illuminates the themes. But, be prepared to have all that careful preparation wonderfully undermined by a production that refuses to let you remain a distant spectator. In bridging the gap between stage and screen, between past and present, this Macbeth creates something entirely new – and utterly compelling.

For optimal viewing, resist the urge to maintain analytical distance. This is one production where surrender yields the richest rewards. To whet your appetite take a little tour.

A Valentine’s Day Fairytale:

Virginia National Ballet Presents ‘Snow White’

Love was in the air on Valentine’s Day when the curtain rose on the Virginia National Ballet’s “Snow White.” Their timing was perfect – what better way to celebrate the season of romance than with one of the most beloved fairytales of all time?

Snow White (Nicole Ramirez) and The Prince (Livan Gonzalez) surrounded by the Woodland Creatures performed by VNB Students

The audience came to engage and enjoy with much sparkle and finery. My party consisted of my friend and her young ballerina daughter. We arrived after battling Friday evening rush hour in full sparkle and pink regalia. I caught myself smiling throughout the performance.

Under the direction of award-winning choreographer, Rafik Hegab, the production transformed the classic Disney fairytale into an endearing ballet for audiences of all ages. The choreography presented seamless imagery while highlighting the talents of the dancers. The dancers brought to life themes of love’s victory over darkness, bonds between friends, and a pure heart’s ultimate success.

The sophisticated staging and beautiful costuming served as the perfect canvas for the company’s masterful artistry. They truly transported the viewer into an enchanted realm. The lush backdrops created a mysterious forest, a cold castle with a “live” mirror, and the dwarves‘  adorable cottage. The lyrical musical score of Bogdan Pavlovsky sounded familiar yet refined while featuring tunes from the movie. The multiple layers of nostalgic charm, eye-opening scenery, and excellent storytelling through professional ballet made this production sparkle.  The inclusion of ballet school students as the woodland creatures gave the audience and the dancers a taste of  preparation and performance. The stage of the Hylton Performing Arts Center in Manassas, Virginia made a perfect setting for the ballet.

The joyful Dwarves, each with unique choreography brought peels of laughter from the audience

The company’s international ensemble of twenty dancers brought elegant depth to this performance. The diverse cast represents talent from eight countries including the USA, Brazil, Cuba, Japan, Colombia, Uzbekistan, Nicaragua, and Canada. Each dancer imbued the production with a rich tapestry of artistic excellence. Their technical accuracy and emotional expressiveness brought each character beautifully to life – from Snow White’s  impressive graceful innocence  to the exquisitely menacing Evil Queen and her “Shadows,”  to the mysterious Huntsman and the beguiling Prince, and of course, the Dwarves . . .  pure joy! My favorite? The Queen.

The Evil Queen (Sierra Stipetich) and the Huntsman (Leonardo de Almeida)

The company’s decision to present “Snow White” during the Valentine’s season reflects their culture of bold programming. They have been voted the Best of Prince William County in Inside Nova’s Best Of for three years 2022-2024. The Virginia National Ballet pushes artistic boundaries while honoring classical traditions. Under the leadership of Managing Director Elysabeth Muscat and Artistic Director Rafik Hegab, the Company has earned their place among Virginia’s premier ballet institutions. The company performs a broad variety of ballet from “Led Zepllelin” last April to the holiday favorite, Nutcracker, at Christmastime. This is a company with a “two edged” sword. It is not surprising that almost every seat was taken.

For those seeking an affordable quality ballet experience, this one will put a smile on everyone’s face. There is one more chance to enjoy this production on March 1 at Capital One Hall. Visit the website for tickets. Here is a brief video from an earlier season https://www.youtube.com/watch?v=mF2mSJ_irlc.

As a first-time viewer and a bit of a ballet sceptic, I was delighted by the authenticity, technical accuracy, and charming emotional storytelling by the company. This production has made me eagerly anticipating the company’s  April 27th  Bohemian Rhapsody , at the Hylton Performing Arts Center.

I wish Virginia National Ballet the best as they prepare for their exciting NYC debut of Bohemian Rhapsody in May at the Ailey Citigroup Theater in New York City.

*Photo Credit: Photos by Dave Pearson – courtesy of Virginia National Ballet Company